[MUSIC PLAYING]

Welcome to the Church History Library's Men and Women of Faith lecture series. Tonight's lecture is titled "Alexander Schreiner: A Legacy of Music." Our presenter is Dr. Daniel F. Berghout. He lives in Lawrence, Kansas, and has driven cross-country this week with his wife to be with us here today. And we also understand that there are several descendents of Alexander Schreiner here, and we want to welcome all of you here also. Dr. Daniel Berghout, composer, organist, and teacher, is the founder and owner of WardOrganist.com, a division of OrganMusicDownloads.com. A native of Ogden, Utah, he received his bachelor's of art degree from Weber State University, a master of music degree from Brigham Young University, and a doctorate of musical arts degree in organ performance from the University of Kansas, where his landmark doctoral dissertation, "Alexander Schreiner: Mormon Tabernacle Organist," was awarded honors. Dr. Berghout has performed regularly as a guest organist at the Mormon Tabernacle on Temple Square since 1992. We are very excited to welcome Dr. Daniel Berghout. [AUDIENCE APPLAUSE]

Thank you. Before I begin the lecture, I need to thank my wife and my family.

Distilling a man's legacy into 45 minutes of a lecture is a tough job. And after the first draft of tonight's lecture was done, it was still over two hours. My wife laminated me a card that said, "What does this have to do with Alexander Schreiner being a man of faith?" And every time the editor's pen came up, I argued against something. And always, they were right. So with that: On Friday, August 19, 1921, a young German immigrant played a recital as part of a new recital series on the large organ in the world-famous Mormon Tabernacle here on Temple Square. The recital marked the beginning of a brilliant concert and Church career for the young organist, whose name became synonymous with the Tabernacle and the imposing organ over which he presided for more than 50 years. [MUSIC - FELIX MENDELSSOHN, "SONATA NO. 1 IN F MINOR"]

That was the Sonata No. 1 in F minor by Felix Mendelssohn. Christian Alexander Ferdinand Schreiner, the second of Margarethe Schwemmer and Johann Christian Schreiner's seven children, was born on July 31, 1901, in Nuremberg, Germany, and was baptized in the Lutheran Church eight days later. Their first child had died shortly before his first birthday, nearly two years before Alexander's birth. The Schreiner's third child, Hedvig, was born with serious heart problems, which concerned Margarethe. She feared not only for her daughter's life but also for her soul. Hedvig had not been baptized because Christian had become disillusioned with organized religion.

Through visiting with the disabled peddler named Conrad Hoffman, Margarethe learned of a Church that believed little children were innocent and did not need baptism. She was intrigued and asked him to return that evening when her husband was home. Christian, learning of Hoffman's forthcoming visit, threatened with, quote, "grand dramatic gestures to throw anyone who came proselytizing right out the window." When Hoffman arrived, Christian saw that he was disabled and invited him in.

Hedvig soon received a blessing from the Mormon missionaries, and her health improved sufficiently for the Schreiners to attend church meetings. They considered this a miracle and were baptized on May 13th-- May 14, 1903. Although Hedvig died less than a year later, Christian and Margarethe remained committed to their newfound faith. They actively participated in the Nuremberg branch of the Church and opened their home for various Church meetings. Christian rented a piano for the apartment and, in time, choir rehearsals began to be held in their home. Young Alexander refused to go to bed on the nights the choir rehearsed and sat resolutely listening to the rehearsals and observing the accompanist. He always spent the next morning at the piano, figuring out the melodies he had heard the night before. His first public performance was one of these melodies, which he played at a Church Christmas party in 1906. The melody began on a note that was two keys to the right of the keyhole on his piano at home. Unfortunately, this crucial landmark was not the same on the Church piano. Alexander was perplexed. Luckily, his mother came to the rescue and showed him where to begin.

About the same time, he began piano lessons. They were short-lived, however, as the teacher informed the Schreiners that their son lacked talent and further lessons were a waste of her time and their money. Knowing Alexander's preoccupation with music, the Schreiners sought the advice of the local Kapellmeister and waited for further music lessons until Alexander had completed his first year of school.

He made his debut playing the harmonium for a Church service at the age of seven after the organist failed to appear. He was appointed branch organist later that year. As a young organist, Schreiner quickly developed a healthy opinion of his abilities and was extremely protective of his position as the official branch organist. He recalled, "Occasionally, a visiting missionary would come to Nuremberg. When our local missionaries found out that he could play the organ, they would invite him to play. And they would release me for that meeting, which made me very sad indeed." It gets better. "My mother would say, 'Sit right by me with the altos and sing with me.' But that did not please me one bit. I was glad to sit by my mother. But not only would someone take my place illegally, I thought, and unfairly, I always noticed that he could not play nearly so well as I was able to play by that time."

Although Christian eventually resolved to gather with the Saints in Zion, Margarethe did not share his zeal. The missionaries in Nuremberg were also hesitant to encourage the Schreiner's immigration because they provided the branch with both leadership and financial strength. One night during the spring of 1912, Margarethe had a dream. She saw a building she recognized as the Salt Lake Temple. Two LDS women she knew and respected sat beside her, with a large Bible that was open to Revelation 18:4, which reads, "Come out of her, my people, that you be not partakers of her sins, and that you receive not of her plagues." Margarethe insisted to these ladies that her family could not leave Germany because they had to attend to their property and business. The women, in turn, assured her that if she had enough faith, she could get to Zion. The dream helped her accept Christian's resolve to emigrate.

The Schreiners put their affairs in order, which by this time included selling a thriving chauffeur business. They left Nuremberg on September 29, 1924, 1912, with their four children, Alexander, Emma, Hildegard, and William. Norma, their youngest child, was born four years later. This slide is the whole family in 1921. The Schreiners arrived in Salt Lake City on October 17th, nearly three weeks after leaving Germany. Christian had entertained hopes of settling in America as a man of comfortable means, but this was not to be. They arrived in Utah with only $100. Alexander believed that he would never be able to play for Church services again.

His suspicions were confirmed Sunday morning when someone else was seated at the organ. That afternoon, the family attended a meeting for the German and Swiss members of the Church. To Alexander's great delight, there was no organist. This delight was not shared by Church leaders, however, who, after learning that Alexander could play, wondered how he could effectively read the music since he only spoke German.

After much persuasion and assurance from Christian, they reluctantly allowed the 11-year-old to play. Soon, he was appointed organist for the 26th Ward as well as the German and Swiss Branch. Now the Schreiners soon obtained a used piano, and Alexander began lessons. This luxury brought disapproval from some of their friends and acquaintances and even Church leaders, who thought the money would have been better spent on necessities the family lacked; for example, curtains. Alexander quickly discovered that organ recitals were played daily in the Tabernacle on Temple Square by three men whose jobs he considered "heaven appointed." He took every available opportunity to walk to town and attend these recitals and was captivated by the noble sounds which came from that large, four-manual instrument. When Alexander was 13 years old, one of his schoolteachers suggested that he study with John J. McClellan, who was then senior organist at the Tabernacle. Schreiner quickly proved his dedication as a student, and McClellan offered to teach him a second lesson each week for free. These lessons helped to shape Schreiner's musical thought through the rest of his life.

During his second year of high school, Schreiner began playing the organ professionally, accompanying silent films at the American Theater, the largest theater in Salt Lake City at the time, and later at other local cinemas. These lucrative jobs provided him with a larger income than many of his high school teachers. And it allowed him to develop the skills required of organists during the Golden Age of Silent Movies. He then practiced serious music in the late evenings after the theaters closed. And it was here that he first learned to play the organ works of Bach.

Alexander's first full-time job was at the Rialto Theater in Butte, Montana, where he began playing during the summer of 1920. Butte had wanted McClellan, but he was unable to go, so he sent Schreiner instead with the following prophetic recommendation: "Here comes Utah's most gifted young organist." And now watch this part. "Young Schreiner will make the world notice him."

Butte's daily newspaper reviewed his first performance the following day. Quote, "From the moment he touched the keys, music lovers in the crowd knew that young as he is, he is a master of the organ. His playing was a revelation."

Schreiner received a letter inviting him to serve a mission in Southern California shortly after signing a lucrative $100 per week contract with the Star Theater in Portland, Oregon. That's the equivalent in today's money of roughly $1,200 a week as a 20-year-old. He accepted the mission call in July, 1921, when his contract with the Star was near completion.

Schreiner was invited to play three of the daily noon organ recitals held in the Tabernacle a short time before leaving for California. These recitals represented his first official opportunity to preside at the famous organ.

He began serving as a missionary for The Church of Jesus Christ of Latter-day Saints on September 6, 1921. The money Schreiner saved while playing for motion pictures gave him the financial means to support himself for the duration of the 31-month mission, where he gained important spiritual, musical, and leadership experiences that equipped him for future endeavors. He returned to Salt Lake City on March 26, 1924, prepared to begin musical studies on the East Coast. These plans changed less than two weeks later, however, during the annual general conference of the Church in April, 1924, when the First Presidency announced the appointment of a 22-year-old Schreiner as a Tabernacle organist. This placed the young man fourth in seniority at the Tabernacle. Frank W. Asper's appointment came later that month.

Schreiner was granted a two-year leave of absence for musical study in Paris in September, 1924. He began his studies with Henri Libert, a respected pedagogue who had studied with many famous French musicians, including Franck, Widor, and Massenet.

For practice, Schreiner rented a pedalier, or a pedal piano. He frequently attributed the outstanding pedal technique of many European organists, as well as his own outstanding pedal technique, to countless hours spent practicing on this instrument. In addition to studying organ with Libert, Schreiner also studied harmony, counterpoint, fugue, composition, musical interpretation, and French. He continued these studies with Libert during the summer of 1925 at the American Conservatory at Fontainebleau, which was founded in 1921 to introduce the finest American music students to French musical traditions.

Schreiner, as one of 14 organ students, received instruction twice each week from Libert. He also received occasional coaching from the 81-year-old Charles-Marie Widor. Lessons were taught with the entire class observing, so that students became familiar with the larger body of repertoire. At the end of the summer, Schreiner participated in the school's rigorous examination process that was modeled after those held at the Paris Conservatory. Out of the 14 organ students, six were awarded performance diplomas. Schreiner's was one of only two that were granted with high honors. He was the only organ student that year that was awarded the teaching diploma, which was also granted with high honors.

Schreiner spent most of his free time during the summer with Margaret Lyman and John Parish, two other students from Utah. Margaret Lyman, a friend from high school, was studying cello. Although she was courted by both men, it was the friendship with Alexander that grew into a relationship that spanned nearly 60 years.

After completing the summer organ course, Schreiner began eight months of organ and improvisation lessons with Louis Vierne, the famed organist of the Cathedral of Notre Dame. For each weekly lesson, Schreiner prepared a Bach prelude and fugue-- a Bach prelude or fugue--

as well as one of the movements from Vierne's symphonies. The study of the symphonies was particularly memorable for Schreiner, who continued performing them throughout his career. The remainder of each lesson was spent studying improvisation. Vierne was always complimentary of Schreiner's improvisations and his use of different harmonies, and offered valuable instruction that Schreiner quickly incorporated. Vierne wrote of Schreiner, "He has a technique capable of mastering at sight any and all difficulties. His interpretation shows perfect musicianship. His style, while respecting the intentions of the composer, is at the same time personal and assures him an enviable place among virtuosos."

At the beginning of May, Schreiner received his final lessons from Vierne and Libert, and obtained letters of recommendation from each of them. In addition to the letter, Vierne presented Schreiner with this photograph, which is inscribed, "To my brilliant pupil, Mr. Schreiner, in testimony of my deep affection, L. Vierne."

Schreiner arrived back in Salt Lake on June 16th, where he was welcomed home, and his accomplishments were praised by family and friends as well as Church leaders. The extensive training he had received from his French teachers helped prepare him for the job waiting for him at the Tabernacle. He later reflected, "In France, I might have studied composition with Nadia Boulanger, but I felt I could not afford the time. I specialized in organ performance because I was already appointed and committed to a life at the Tabernacle."

On July 21st, Schreiner presented a noon recital that was attended by tourists, family, and friends, as well as many Church leaders, including Heber J. Grant and George Albert Smith. One notable absence at the recital was J. J. McClellan, who passed away while Schreiner was studying at Fontainebleau. Shortly before his death, McClellan had written to Schreiner, quote, "You will soon, I hope, be the head organist at the Tabernacle," end quote.

Equipped with two years of intense European training, the sterling recommendations of his Parisian teachers, as well as McClellan's letter, Schreiner wrote to the First Presidency, soliciting the position of chief organist.

This is a remarkable letter. And just so you don't think, "My, he was cocky," the letter speaks to his vision of what the position of Tabernacle organist could be. The following excerpts give just a little bit. It would take half of the lecture to read the full letter. (READING) "The position of chief organist at the Tabernacle is so important that it is worthy of the best effort, chief interest, and first consideration of the man chosen to fill the place. In fact, it is great enough to demand his entire time and attention." At this point, you have to realize that all of the organists were also teaching either at the LDS Music School or at McCune or different places. They were doing all kinds of other things. They received some salary, but not enough to keep them here full-time. So the letter continues on. (READING) "To enable one in this position to devote himself to work on the organ, he should be paid a salary such that he will not be compelled to do other work in order to secure a livelihood."

He didn't mess with anything there. Well, the solicitation was justified. Charles W. Nibley, who was a member of the First Presidency and who had been the prominent voice in convincing Schreiner that his future lay at the Tabernacle and not in electrical engineering, had written the previous summer that McClellan's death was, quote, "a great loss to the community and especially to the Church, for we have no one to take his place unless you measure up," end quote.

Unfortunately, the First Presidency was unwilling to offer Schreiner the position because of Edward Kimball's and Tracy Cannon's seniority. In an attempt to create equality among the corps of Tabernacle organists, however, the First Presidency refrained from designating anyone as chief organist or senior organist. They were all just Tabernacle organists.

In January, 1927, Schreiner left for Los Angeles, with hopes of quickly earning enough money to repay the debts he had acquired from his European study. He soon succeeded Albert Hay Malotte, composer of the dramatic and still popular setting of "The Lord's Prayer," as chief organist at Grauman's Metropolitan Theater, the largest and most prestigious theater in Los Angeles, where it was reported that Schreiner was paid a staggering $1,000 a month. The equivalent in today's money, if you want to know, is around $14,000. Schreiner's earnings during the first few months of working at the Metropolitan gave him more than enough money to repay his debts. He returned to Salt Lake to marry Margaret on July 7, 1927, in the Salt Lake Temple. After a garden reception, the couple boarded a train and returned to Los Angeles, where Alexander resumed his duties at the Metropolitan. In early August, they returned to Utah to vacation, and Alexander resumed his Tabernacle duties. In an effort to keep him in Salt Lake City, and because of his phenomenal success at the Metropolitan, he was offered and accepted a job as chief organist at the newly renovated Capitol Theater, where he remained for the next two years. Now, we have a short audio clip. And I want to preface this with saying, although this is taken from the same time that the first clip that you watched is, I want you to picture this piece as though he was accompanying a silent movie. It's a standard piece of organ literature, but just listen. [ORGAN MUSIC PLAYING]

Can you hear it?

Schreiner's days as a theater organist were near an end. The first all-talking picture was introduced to Capitol Theater audiences in 1929. One of the most important and far-reaching events in Schreiner's career occurred on Monday, July 15, 1929. It was the first national broadcast of the Mormon Tabernacle Choir and Organ. Edward P. Kimball was the organist for that broadcast. Schreiner played the third national broadcast two weeks later. The Schreiners returned to California in September, 1929, after spending two years working in Salt Lake City. Doctors had advised Alexander to spend the winter in the warmer Southern California climate since he had recently suffered from a severe attack of influenza.

Upon settling in California, Schreiner secured employment at the fashionable First United Methodist Church-- actually it was just First Methodist Episcopal Church at that time-- the oldest Methodist congregation in Los Angeles.

Because that job provided a relatively modest income, Schreiner sought additional employment opportunities in the Los Angeles area and continued to concertize throughout Southern California. Now, shortly after he left, changes occurred at the Tabernacle, while he was on medical leave, that led Church authorities to offer him the following spring, I quote, "more important and prestigious position at the Tabernacle," end quote. Kimball had been sent to Dresden as President of the German-Austrian Mission, and Cannon's failing eyesight precipitated his resignation as a Tabernacle organist, leaving Frank Asper with the sole responsibility for accompanying the choir and performing daily recitals. While accepting the offer, Schreiner indicated to the First Presidency that he required job security and wrote, quote, "I have submitted an application for the position of recital organist at UCLA."

Church officials publicly announced Schreiner's return as the organist for the Tabernacle Choir on June 12th. That evening, he presided at the organ for the choir rehearsal. And on the following Monday, he played for the Choir's weekly radio broadcast. He was granted a two-month leave in September, 1930, to audition for the UCLA position.

The Schreiners were scheduled to return to Salt Lake City at the end of the eight-week period, where Alexander was to resume his duties as the Tabernacle Choir Organist. But because of the success of the phenomenal-- of his performances, UCLA offered him a job.

Before accepting the position, Schreiner consulted with President Heber J. Grant, who encouraged him to accept the offer. He was granted an extended leave of absence from his Tabernacle duties each academic year, but was required to be in Salt Lake during the busy tourist season each summer. Ernest Moore, UCLA provost, took pride in the appointment of Schreiner, and fondly recalled, "Alexander Schreiner came to us as the first of those whom we thought to employ on a two-month contract. He stayed for nine years. When he played, the students came by the hundreds and remained, hushed and attentive, listening to the music."

One of Schreiner's most enduring accomplishments from the 1930s was a publication of organ voluntaries. Michael Hicks, in his book, Mormonism and Music, noted that Organ Voluntaries was intended to, quote, "counteract the popular pieces that were played in Church by some organists, including love songs such as "Pale Hands I Love" and "I Love You Truly."

To help discourage these sentimental practices, two copies of the newly published work were sent to every ward and stake throughout the Church. Schreiner also recommended the large body of Mormon hymnody, especially his arrangements, stating that, quote, "In the field of devotional literature, these hymns are of exceptionally good quality and of high artistic merit," end quote.

During the summer of 1938, Schreiner met with President Heber J. Grant to discuss his return to full-time employment with the Church. He later recalled telling President Grant, "I'll be happy to come back. The Tabernacle is the place I have prepared for." Presiding Bishop LeGrand Richards announced Schreiner's return as a "Senior Tabernacle Organist"-- I've got that in quotes-- on June 23, 1939, one day after a lengthy and somewhat lively meeting with the First Presidency, Heber J. Grant, J. Reuben Clark, and David O. McKay. The meeting, which was convened to resolve some misunderstandings about Schreiner's return to the Tabernacle, was uncomfortable because of the dominant personalities of both Schreiner and President Clark. Clark, with his years of government service, assumed that people of artistic temperament did not share his rational view of the world and, quote, "believed that all artists and performers had succumbed to the temptation of pride," end quote. Schreiner, on the other hand, had long held the view expressed in Shakespeare's Merchant of Venice-- he had held this view since he was a teenager-- that, quote, "The man that hath no music in himself, let no such man be trusted," end quote.

It's interesting to note that President Clark wrote he hated Bach. [LAUGHTER]

Schreiner had insisted that he be named chief organist, but Clark would not have his friend Frank Asper's faithful service overlooked and, quote, "very pointedly told Schreiner that he would not have the title," end quote. His return to Salt Lake City marked the sporadic years of service. Committed to advancing noble and uplifting music in the Church, he remained at the Tabernacle for the duration of his career with or without the elusive chief organist position.

Schreiner and Asper were given equal opportunities, equal responsibility for accompanying the choir, and performing organ solos, alternating broadcasts on a weekly basis. Although Asper's and Schreiner's personalities were often at odds, they maintained a cordial professional relationship that was rarely compromised in public. I think this is important to note. J. Spencer Cornwall recalled their assurance that personal disagreements would not hinder their required duties. Quote, "They came to me at one time and said, 'Don't worry about us. We have differences of opinion about certain things and about each other's playing, but it will never come to you. We'll do just exactly as required for these broadcasts, so don't worry about your organists.'" That is quite something.

Tabernacle duties were not the only activities occupying Schreiner's time. He enrolled in courses at the University of Utah during the fall of 1939, with his sights set on obtaining a university degree.

He bypassed all the required courses for music major by passing equivalency examinations for 20 different music courses, tested out of all of them. The University of Utah granted Schreiner a bachelor of arts degree in music with high honors in June of '42. He was also inducted into several honor societies, and proudly displayed their keys on his watch chain throughout his career. In this photo, you can see one of them. Other photos that you'll see, watch for them. They're always there. Yearly concert tours, managed by New York organ impresario Bernard LaBerge, began in '43. Now, LaBerge capitalized on Schreiner's fame and advertised, quote, "Such is his fame and popularity that crowds gather to hear him wherever he appears." Concert appearances, coupled with name recognition he received through the weekly Tabernacle Choir broadcast, gave Schreiner the opportunity to fulfill a vision he had suggested to the First Presidency 17 years earlier in that letter, which I have already quoted from. This is the last quote from that. Quote, "The Tabernacle Organist must be given fair opportunity to compete successfully with other great organists if our place in the music world is to be maintained. It should be possible for the Tabernacle Organist to so improve himself that he can and will give concerts outside of Utah, thereby securing desirable publicity for the Church." And, boy, did Alexander Schreiner secure desirable publicity for the Church. Schreiner was appointed chairman of the Sunday School General Board of Music Committee in 1942. In this capacity, and as a member of the General Music Committee, Schreiner began writing articles for the Improvement Era. The articles addressed various aspects of music in the Church, including technical suggestions for organists and music leaders. By the end of the decade, his articles were a regular feature of the Instructor, a magazine published by the Sunday School. Amateur musicians throughout the Church looked to Schreiner as the voice of authority, the voice of musical authority in the Church. Although his remarks provided Church musicians with encouragement and inspiration, he would not tolerate mediocrity, and occasionally addressed questionable practices in a forthright manner. In 1965 he attacked a faulty method of organ playing. After presenting his readers with details about a, quote, "antiquated and worthless method," Schreiner wrote, quote, "I am willing to allow the above procedure to be followed only once"-- er-- "allow the above procedure to be followed once only, and I mean once in a lifetime. It would be better still never to indulge even once." Then he goes on. "The best players play pedals with knees adjacent and, in difficult passages, with knees touching. I do this because I try to be one of the best players."

One of the most significant contributions Schreiner made as a member of the General Music Committee involved the six-year process in preparation of publishing the '48 hymnal. While it included many well-loved gospel hymns, the committee worked toward elevating the standard of music in the Church by embracing such hymns as "A Mighty Fortress," "Praise to the Lord, the Almighty," and "All Creatures of our God and King." The committee invited prominent LDS poets and musicians to submit their texts and music, giving the 1948 hymnal a contemporary voice. The importance that Schreiner placed on congregational singing throughout his career, an importance that he got from his mother and his father in Germany, was evident in his contributions to the project. His 11 congregational hymns not only outnumber the settings written by his colleagues but also those written by earlier LDS composers. Robert Cundick observed that it was in these hymn settings, more than any other musical genre, that Schreiner excelled as a composer. So the next time you sing one of his hymns, figure out and listen and realize what a genius each one of them is.

In conjunction with that, we had the 1940s Recreational Songs and Children Sing. He collaborated with Anna Johnson to create over 100 songs for children. It's not surprising that he became actively involved in writing music for children during the '40s, because of experiences he had with his growing family. Schreiner took an active interest in his children's musical development and their individual accomplishments, writing down each song Richard memorized his first year of school; encouraging John, who began playing the piano in Junior Sunday School when he was seven; Gretchen, accompanying her as she discovered the violin; and Julianne, who later pursued her own professional music career. Some of the children's most cherished memories involved the entire family and evenings filled with music. Just a little bit of a quote from them, "Music was abundant in the home. For several years, family suppers were followed by music from the family orchestra. In various combinations of duets to quintets, the family explored compositions of Mozart, Brahms, and others." Then he goes through and lists, but I've already talked about those. "And it was rounded out," the quote ends, "by little Julianne, who, in happy family legend and in truth, played contentedly on the linoleum." [LAUGHTER]

The connection between Alexander Schreiner and the magnificent Aeolian-Skinner Organ in the Tabernacle could conceivably be considered symbiotic, for Schreiner and the organ are inseparable. The well-documented process of design, construction, and installation of Opus 1075 would not have been possible without Schreiner, and his remarkable legacy will always be tied to the Tabernacle organ. G. Donald Harrison, president of the Aeolian-Skinner Organ Company, wrote in 1945, "Due to the strength of character of Alexander Schreiner, there was absolutely no competition. And he stuck to one theme, that unless one man was placed in charge of the building of this organ, they would rather carry on with the old instrument with all its faults." The letter continued, "With the location of the organ and the superb acoustics, there is a real chance to build the most distinguished instrument in the country, and that is what I intend to try to do." Following the 1948 dedication of the organ, Harrison wrote to a friend, quote, "Wish you could hear it. I believe you'll be pleased. There is something about it that gets you," end quote.

Schreiner returned to the University of Utah as a graduate student in 1949 and continued coursework through 1954, graduating with a PhD in music and a minor in Philosophy. He had the distinction of being the first person awarded a PhD in music from the University of Utah. The degree marked the completion of his formal education that Schreiner had pursued, quote, "just for fun," end quote. To fulfill the doctoral thesis, he worked on his Concerto in B minor for Organ and Orchestra, submitting the complete score during the summer of 1954. The concerto received its premiere in the Tabernacle on February 22, 1956, with Maurice Abravanel conducting the Utah Symphony and Schreiner at the organ. If I had a lot more time, I would play you an excerpt of that. But I don't, so I'm sorry. Schreiner was also appointed lecturer in music at the University of Utah and was selective in his students since he did not want a large teaching load to interfere with other responsibilities. He was particular about his students' practice. And speaking with many of them, the practice regimen he emphasized was as follows: "In the first place, one should avoid making a mistake, ever. [LAUGHTER]

When you start to learn something new, play it so slowly that the notes, the time, and the rhythm are all played perfectly. Then gradually start to play faster, but it must always be played perfectly."

He preached that there are three elements in music. The first is rhythm, the second is rhythm, and the third is rhythm.

He also declared to his students that, quote, "A solid pulse is your means of holding the attention of your listeners. Hold them. Hypnotize them with it," end quote. With the growing popularity of television, Schreiner began accompanying The Tabernacle Choir for national appearances. In November, '59, they appeared on the very first Grammy program, singing the Wilhousky arrangement of the "Battle Hymn." And in conjunction with that, Eugene Ormandy once commented that the three greatest Christian musicians of the 20th century were no doubt Albert Schweitzer, Pablo Casals, and Alexander Schreiner.

Schreiner recorded a number of solo albums throughout his career. The first appeared in 1953 on Musical Masterworks Society label. His debut on the Columbia Masterworks label came in 1960, with the release of The Great Organ at the Mormon Tabernacle. The album met with instant success, especially here in Utah, where the supply of disks sold out almost overnight.

He also presented his own program each week on KSL radio, beginning in the '40s. This continued through the '50s and intermittently through the '70s-- early '70s. He followed the same routine, and I think this speaks to who he was and how his mind worked. Recording three or four different programs during each late night session, Schreiner placed the selected music in a pile on top of the organ console and began playing as soon as the recording engineer was ready, starting with the theme music. He extemporaneously narrated the program, closely observing the clock to keep within the allotted half-hour time. Using a microphone positioned next to the organ bench, he introduced each work while placing the music on the rack. He brought his comments to a close as soon as he was ready to begin. And without hesitating, he played the first selection. This procedure continued throughout the evening, with only a single take of each performance and without stopping between programs, three, four hours worth of recording. He also completed a series of three half-hour television programs, which the video clips are from. These follow the format similar to the radio. Nearly 40 years passed between the time Alexander Schreiner first requested the chief organist title and its conferral on April 6, 1965, during the annual general conference of the Church. Circumstances finally aligned for the 63-year-old Schreiner to receive the designation. Firstly, J. Reuben Clark, the member of the First Presidency who had opposed giving Schreiner the title, died in 1961. Secondly, Frank Asper was released and named Tabernacle Organist Emeritus. The Church Music Committee underwent a major reorganization in '69, and Schreiner was appointed managing director, with Robert Cundick, assistant managing director. Together, they were responsible for implementing, quote, "one unified Church music program," end quote. Lowell Durham, in the 1968 article on Mormon music and musicians, summed up Schreiner's influence in the LDS Church during the 20th century. Quote, "More than any other, he has influenced LDS Church music in this century. He was a dominant voice in Hymns 1948 to '50. He has had the ear and the respect of the First Presidency for four decades. His voice has long been the strong one of the General Music Committee, and his influence has been widespread throughout the vast Sunday School organization, whose music committee he has chaired for over 20 years. The final decade of Schreiner's professional career was filled with numerous awards and recognitions. Honorary doctoral degrees were conferred by the University of Utah, Utah State University, Brigham Young University, and Westminster College. Schreiner's years of musical artistry were also recognized internationally. In 1975 the Federal Republic of Germany presented him with the most prestigious honor for individual achievement in the arts, the Officer's Cross of the Order of Merit. Accompanying the award was a citation praising his long career. Quote, "He has given his art to the world and has contributed to international understanding. He has brought great credit and honor to his native land, Germany, and his adopted land, the United States." Schreiner suffered from many health problems during his last two years as a Tabernacle organist, including the discovery of prostate cancer in early '76. After several weeks of absence, though, he returned to the Tabernacle and continued playing. Schreiner would not stay away from the Tabernacle for long, and returned to the organ bench even though he was undergoing radiation therapy. He was hospitalized in early '77-- early November, 1977, for deep vein thrombophlebitis. Knowing that he was scheduled to perform on the November 26th Utah Symphony concert, he convinced hospital doctors to accompany him to the Tabernacle, to determine the advisability of proceeding with the performance. After the practice session, he told Abravanel he could perform, and the concert continued as planned.

Schreiner played his final broadcast of Music and the Spoken Word on December 4, 1977. He summed up his feelings of appreciation for the choir and his love of the Tabernacle and organ in writing. Quote, "My blessings have been many, the huge dome of the Tabernacle above me, the gorgeous organ kept in perfect condition, the near 400 singers and staff which have poured love on me throughout the years, have been marvelous to say the least," end quote. His final Tabernacle organ recital was performed on December 30, 1977, before a large crowd of family and friends, including Church and civic leaders. Addressing the Schreiners, President Spencer W. Kimball said, quote, "Our lives are richer and nobler because of you. We are grateful and thank you, our friends, for your goodness, for your faith, which has made our faith stronger, and for your music, which has made the whole world better," end quote. Schreiner's retirement became official the following day, and he was named chief organist emeritus. His plans for retirement included devoting more time to reading, writing, and composition. It was in writing his memoirs, however, that the fruits of his retirement were most apparent. In 1984, after years of work and numerous revisions, the family published Alexander Schreiner Reminisces. In May, 1978, President Kimball conferred the sealing power on Schreiner, and he subsequently performed many temple weddings, including the marriage of his oldest grandson, Michael Alexander Schreiner. In fact, he said, that of all the things that he did, it was work in the temple that was the most important.

Margaret's health deteriorated after cancer was diagnosed in the fall of 1984. Reflecting on her life, she wrote, "I am full of happy memories. If I could change my life in any way, it would not be possible to have a better one." Her death came on May 13, 1985, just weeks short of their 58th wedding anniversary.

Their children recalled, "During the years, she was a significant behind-the-scene factor in father's remarkable success. Mother sustained and encouraged Father in every possible way. They operated as a team. His life has been her life through all the years." Losing his beloved companion was difficult for Schreiner, whose health steadily declined afterwards. He died on Margaret's birthday, September 15, 1987, at the age of 86. Alexander Schreiner left behind a remarkable musical legacy. His 53 years of recitals and broadcasts from the Salt Lake Tabernacle and his extensive concertizing influenced generations of organists and reached millions of listeners. His published collections of organ music still in print today provided countless Church musicians with music that was easily approachable. His tireless crusade for the Aeolian-Skinner Organ in the Tabernacle resulted in the creation of G. Donald Harrison's masterpiece. His quest for perfection and knowledge, his impatience with mediocrity, his gentle humanity, and his genuine charisma all contributed to his commanding, multidimensional personality. Alexander Schreiner's faith in and commitment to The Church of Jesus Christ of Latter-day Saints was undeniably apparent throughout his career. As Jerold Ottley expressed so aptly, "With his reputation, he could have done anything. But he chose to remain at the Tabernacle." Thank you. [CROWD APPLAUSE]

And I take great pleasure in playing for you the "Finale" from the 1st Symphony of Vierne in D major.

[MUSIC - VIERNE, "FINALE FROM THE 1ST SYMPHONY IN D MAJOR"]

And that was the finale from the 1st Symphony by Louis Vierne.